Branigan effectively criticizes the communication model of
narration, a task long overdue in Anglo-American circles. The book
brings out the extent to which mainstream mimetic theories have
relied upon the elastic notion of an invisible, idealized observer,
a convenient spook whom critics can summon up whenever they desire
to "naturalize" style. The book also makes distinctions among types
of subjectivity; after this, we will have much more precise ways of
tracing the fluctuations among a character's vision, dreams,
wishes, and so forth. Branigan also explains the necessity of
distinguishing levels of narration.
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